Guide: How to Write
by dalekchung
Summary: Many of us today scroll through the archive, hoping to find something that is well written. But halfway through the archive, we realize that there isn't anything new to read, and we begin to feel frustrated. This is a guide on how to write. It includes tips from me, a fellow writer and reader, who wishes for more stories in the fandom. (Rated T for language)
1. Chapter 1

**DISCLAIMER: I do not own Alex Rider**

 **A/N:** So, I've decided to post this. I was scrolling through the archive, hoping to find something good that I already hadn't read. And I found none. With a sense of urgency and a bit of disappointment, I present to you this guide. Hopefully, some of you will draw some inspiration from this and write a well-written story that everyone will love.

This was inspired from the guide "How to Write an Alex Rider Fanfic that Doesn't Suck". However this guide will be different (content-wise) and will hopefully provide more information to people who want to start writing.

* * *

Guide: How to Write 01

As you know, the Alex Rider fandom has many works (about 3,600 some), but only a select few of these works are very well written. I have decided to write this guide purely on the fact that I am frustrated. There are many things that put me off as a reader, and unfortunately, some stories here make my brain boil.

Now, I know that 99.9% of you are not professional authors and are probably stabbing me in your mind, but there are a few things that could change your work dramatically. Nothing written here is meant to offend you, attack you, or make fun of you. I sincerely wish for your success as a writer.

This guide is meant for longer chapter works and not for drabbles or one-shots. This guide is also meant for serious works, not for works like humorous one-shots (which you all know I love, haha).

Let's begin.

* * *

 _Getting to Know the Basic Story_

Yes, I'm starting here. Half of you are probably groaning, thinking, "not _another_ English class!"

Sorry, guys! It _is_ another English class. But look on the bright side: Professor Chung (or Doctor'sLittleDalek, take your pick) is in da house! Hm, I don't think I'll say that ever again…

Getting to know the story is very important. There are five main parts of a story: the exposition, the rising action, the climax, the falling action, and the resolution.

The exposition introduces important background information to the readers. Because we write _fanfiction,_ intensive background information is not needed. However, it's still good to include some, especially if you decide to make an alternative ending to the last book and have Alex be in MI6 as an official agent.

Why he does this is included in the category of "important background information". Why does Alex not go to America with the Pleasures? Is it because civilian life is difficult for him to adapt to? Is it because he was too curious for his own good and was zapped back into the espionage world?

The exposition can be told through a flashback, dialogue, or a character's thoughts. I personally like to use the last method, a character's thoughts. I find that it's a lot smoother for me to transition back and forth from thoughts to actions.

I don't typically like to use a flashback, but I won't discourage it. If applied correctly, a flashback can be very enthralling. It's not enthralling to read about Alex sitting down with the Pleasures, telling them he can't handle it. It would capture your reader's attention to see Alex sneak away or something like that. Of course, if Alex does sit down with the Pleasures for a talk, something should happen. Maybe Sabina gets angry and throws a plate at Alex's head. Maybe scary ninja-assassins fly in through the window. Maybe Edward gets sniped.

Either way, just remember to use italics with flashbacks. This signals that it's either a dream or a flashback. I'm not sure if this is an actually rule, but if it isn't, it's an unspoken rule. I would get confused if you didn't properly italicize.

Dialogue is also a proper way to provide background information, but I find it a bit strange. If two characters have gone through something together, they wouldn't elaborate their experiences together. For example:

 _"_ _Remember when I called you?" Alex asked the head of MI6, Mrs. Tulip Jones, tentatively._

 _The woman inclined her head slightly._

 _"Well," Alex paused for a moment before continuing, "I told you that I couldn't adapt to civilian life. I keep feeling like someone is watching me. Just the other day, I was attacked by five armed hitmen..."_

Mrs. Jones already knows Alex was attacked by five armed hitmen. She knows why Alex returned. He shouldn't have to say it explicitly.

Hey, if you can make it work, you can make it work. It's just not exactly my preferred way of introducing the background.

The rising action is a series of events that leads up to the climax. It begins directly after the exposition. I will say this once, and you will always remember it:

 _THE RISING ACTION IS THE MOST IMPORTANT PART OF THE STORY._

Wow, that was the first time I've ever used caps lock.

Seriously though, the rising action is the most important part of the story. Everything depends on the events in the rising action. The events lead up to the climax and if you don't write/do this properly, you'll find even yourself disappointed at the outcome.

In an Alex Rider fanfic, this is where you'll see Alex collecting information. He'll be trying to take down the enemy. Maybe he'll do a mission or two to rescue allies who potentially have the information he needs.

The rising action should be the longest part of your story. It should include different trials that Alex faces. Character relationships should develop. The plot should always work towards the climax.

This brings us to the climax! It's the turning point in the story and in the protagonist's life. It is a point with the highest tension and the greatest suspense.

With the definition in mind, the climax is not necessarily a big fight where Alex kills the bad guy. That actually qualifies as the falling action.

The falling action. This is where the actual conflict between the protagonist and antagonist finally unravels. Will the protagonist win? Will the antagonist win?

There's not much I can add onto this. Ultimately, the falling action leads to the resolution.

Yay! The resolution! Alex's story ends here (unless you want to do a sequel). He gets a happy ending and a well-deserved break. But knowing Alex…

Hopefully, the five parts of a general story has educated you. You can probably see that most of the time should be devoted to the rising action. The bulk of your story is there.

Next up, we'll be looking at characters!

* * *

If you have questions, concerns, or suggestions, please leave a note in the review box! I'll answer them in either a PM or in the next chapter. Please let me know if you agree or disagree with me (again, in the review box below).

-Alice (for behind the scenes, follow me on twitter at dalekchung)


	2. Chapter 2

Guide: How to Write 02

 **Question(s):**

 _How can you create a satisfying ending?_

Well, haha, I've personally never finished my own chapter stories (at least the published ones), but I can tell you with a certainty what I like to see!

Of course, it's always good to have a variety of different endings, otherwise every story would just be the same. It also depends on the writer and their style. For me, I love endings that don't really end. The writer leaves you to speculate and then writes an epilogue set a few years into the future. I also do like concrete endings, but again, it depends on the style of the writer.

What you _don't_ want to do is end very suddenly. The reader should know that it's coming to a close before the story actually ends. For example, the initial conflict is _finally_ resolved. You (obviously) can't create a satisfying ending by not resolving the conflict. And, just to make this very clear, you can't create a satisfying ending by not having a conflict at all. I'm not sure if you've read any stories without conflicts, but I have. Funnily enough, I never got to the ending…

Moving on, endings are kind of like tying up a package. Inside are the stuff from the beginning and middle. It's only natural that you use elements from the beginning and middle to be in your ending, yes? I like to think that everything that is written in a story pertains to something later on. It also helps to think that all of your writing should be moving forward, converging on that one point that is the ending.

Hopefully, that was helpful! Now for the characters.

* * *

 _Characters (Part One)_

 _Alex_

We've all seen it. Secret spilling Alex. Bipolar Alex. Too-broken Alex. Too-little-broken Alex.

Not all of these are bad, but sometimes people are too focused on showing up those bratty Brookland kids. They want to knock down those high and mighty SAS soldiers. They want to show Alex is better, stronger, and has been through more than them.

Think for a moment. First, think about the actual _Alex Rider_ novels. When Alex comes back from his first mission, does he go around the school, blabbing that he has just been sent on a mission and has just saved the world? No. He doesn't even tell Tom until he needs his help.

Let's just put it bluntly. It doesn't make sense.

We've all seen the clichéd auditorium scene where armed men burst in and wildly demand for Alex. I'm guilty of this too, but I like to think that _my_ Alex didn't give in quite easily.

I've seen it many times. The captor demands that Alex spill all his secrets, and Alex decides to just play along. He explains in detail every one of his missions, conflicted on the inside as he watches his classmates' reactions.

No. Just no.

If you want to write a clichéd scene such as this, Alex would put up a good fight. He would lie and fib. He probably wouldn't give in, even if the captor decides to beat him up.

On the other hand… Alex is a hero. He might not think he is, but look at the books. He might have been blackmailed into working for MI6, but he was doing it to protect Jack. Similarly, Alex would reluctantly spill his secrets to _protect_ someone else. Note the word 'reluctantly'. He wouldn't elaborate in the details. Those missions were painful, dreadful, and terrifying for him. It's amazing he didn't have severe PTSD by the end of the books.

This brings me to the "too-broken" Alex and the "too-little-broken" Alex. It's extremely hard to capture the exact combination that he is, and there really is no right combination. I continuously struggle with this, and it's okay if you do too.

A "too-broken" Alex isn't necessarily a bad thing. You just have to know how to build him up so that he's not a broken shell in the entire story.

This Alex does make sense. Regularly facing death isn't a healthy occupation and is bound to leave psychological scars on a fourteen or fifteen year old.

Just remember, Alex is a teenager. Unless you're writing him as a twenty to fifty year old, he is still maturing and growing.

Of course, there are always exceptions based on your level of writing. In general, just think to yourself, "If I were fifteen and if I were Alex, what would I do?". This method doesn't always work for everyone, but this is what I do and it seems to work out pretty well. But remember: you aren't thinking as yourself, you're thinking as Alex.

Now on the complete flip-side of that, we come to a "too-little-broken" Alex. I use this kind of Alex in my one-shots, but mainly because the one-shots are meant for humor and for fun. However, in this guide, I'll be focusing on chapter stories that are meant to be more serious.

Again, coming back to the psychological aspect of a person (and in this case a character), do you think Alex would be naive to his surroundings or paranoid that there's someone hunting him down? Would he be a bundle of laughs and jokes or would he scrutinize everyone with suspicion?

Mixing the "too-little-broken" and "too-broken" Alex, some writers get a perfect combination and some don't. I'm here to help those who don't.

Usually, the thing that puts me off is something like the _again_ clichéd cafeteria scene. Someone grabs Alex's arm, and he completely flips shit. Next thing you know, the SAS soldiers are scared of him (which honestly makes no sense), the Brookland kids are terrified, and Alex is smugly walking away.

First of all, if you decide to write this, you better drop subtle hints that Alex is suffering from severe PTSD. If you don't, all we see is Alex going crazy. It seems like he's been deprived of human contact for way too long. Unless he has, you probably shouldn't write him flipping out like that.

Secondly, Alex is a spy. He may seem like the best, but if you're sticking around the age zone of fourteen to sixteen, you have to keep in mind that Alex was trained briefly. Sure, his uncle did raise him to be a spy all his life, but Ian didn't go, "hey, Alex. This is what you do when someone you don't know grabs you!"

Maybe Alex reacts by jumping. Maybe he doesn't react at all. Either way, Alex doesn't seem like the kind of guy to react so violently.

If you're writing Alex as seventeen years old or older, this guy is more experienced, especially if MI6 trained him up. This Alex would definitely _not_ react to being surprised. He may even know that someone is about to grab him. What he would not do is flip shit.

I don't know about you, but I'm not a spy. Maybe some of you are, and you're laughing at how naive we all are. No matter, spies everywhere would probably agree that one important aspect of their job is to blend in. If you walked down a street, crossing paths with many people, you wouldn't be able to tell which one is the spy.

Alex is a spy. Spies adapt to their environment. Therefore, Alex adapts to his environment.

Alex adapts to his environment. Adapting to your environment means being inconspicuous. Therefore, Alex is inconspicuous. Alex does not flip shit.

Again, there are exceptions, but generally speaking, see above statement.

Now, a few of you may be thinking, "this is a _story!_ I can do whatever I want!". That is quite true, and you are free to do what you want, but my tips come from what I look for in a good story. I find it easier to read a story with a well developed character than a story with sporadic characters.

Lastly, we'll cover the "Mary-Sue/Marty-Stu" Alex. For those who don't know what a Mary-Sue is, I'll elaborate (with a very bitter tone because I _hate_ them). Mary Sue is perfect, beautiful, and powerful. She's everything we want to be. She's better than any other character in the story and is ultimately better than you. Marty Stu is the male version of Mary Sue. These characters should be used in crack fics.

Hem, I won't lie. I love to see Alex killing the bad guys with ease. Unfortunately, this does not help in building up a good story.

Remember the five parts of a story? Remember the rising action? Remember how I said it was the most important part of a story? Well, "Marty-Stu" Alex can't build up to the climax.

A story is made up of conflicts upon conflicts. How are you going to write a story if Alex can easily solve each conflict with a flick of his finger? The answer? You can't.

This is the one tip that I would say is law. You guys should know this since you all are readers and writers like me, but for those who are new, Mary-Sue and Marty-Stu are a big no-no. Hate them with a passion. They are the cause for headaches, hair-ripping, and brain-boiling.

As you can tell, I hate them. I kill them in my mind.

 _Anyway,_ that's it for Alex. Leave some of your thoughts in the reviews, including why you agree or disagree with me. If you notice that I didn't cover some things that you'd like to know, also include that. Questions and suggestions are welcome.

Up next, more characters!

-Alice (for behind the scenes, follow me on twitter at dalekchung)


	3. Chapter 3

**Question(s)/Comment(s) to Reviews:**

Before I get started, I'd very much like to thank _theyre-my-babies_ for the long, very detailed reviews! I want to take a moment to answer the very good points you had.

About italicizing flashbacks: I like this method a lot because you don't really have to stop the flow of the story with the typical "FLASHBACK" and then "END FLASHBACK", but that is certainly an option!

More on the climax: Well, I thought it was pretty much self-explanatory, but I'll elaborate more! Using _Stormbreaker_ as an example, the climax of this book was when Alex drops in, destroys the Stormbreaker computers (and all that jazz), but Harold Sayle escapes. We then get the whole showdown on the roof with Alex and Sayle. We don't know what's going to happen. This is the climax. Yassen killing Sayle qualifies as the falling action.

I hope I cleared out any confusion! So I guess… onwards?

* * *

Guide: How to Write 03

 _Characters (Part Two)_

 _Jack Starbright_

The name brings heartache and a pang of sadness to all of us. If we're sad, what must Alex feel?

In many fanfictions, Jack is still alive. I know, I know, I must be talking about those fanfictions that were written before _SCORPIA Rising_ came out, right? Well, no. There are plenty of fanfics uploaded after the publication of the last novel, which was in 2011. If you want to include Jack, you need to specify when the fanfic occurs. If you want an alternate ending, you need to specify so in your exposition. For an alternate ending, it's better to explain in your exposition.

Jack is a fiery, overprotective, sisterly redhead. Write her as a fiery, overprotective, sisterly character. If she's not, there should be a reason to back it up. Maybe it's not explained at first, but it must be explained eventually.

People don't change drastically for no reason at all.

I'm a science-y person, so how about we apply a bit of physics here? Newton's Third Law: for every action, there is an equal and opposite reaction. You don't have to think of it in terms of science. It just makes sense.

 _Wolf_

Wolf, dubbed James San Luca, by amitai. I agree amitai is a legend, but guys, copying her ideas does not mean you'll get an equal amount of love, followers, and reviews. I'm just putting it out there.

My earlier works were very much inspired by amitai and other various fanfiction writers, but I'm growing ever so tired of it.

In _Stormbreaker,_ Wolf was a jerk. That's putting it in nice terms. If you want me to be blunt, he was a total jackass. Note the word "was".

In _Point Blank,_ Wolf was reintroduced. The relationship between Alex and Wolf seemed to shift to a more civil relationship. After all, Alex did save Wolf from being binned, and Wolf took bullets for our favorite spy. There's no reason for Wolf to still hate Alex with a passion or for Wolf to suddenly love Alex like they'd been long lost brothers.

Alright, so I admit that I do love Wolf (and the rest of K-Unit). I love including them in my stories, not because everyone else loves them, but because they weren't really used in the books that much. While Wolf has a personality, the rest of K-Unit doesn't really interact with Alex that much. But enough about the rest of K-Unit! I'll get to them later.

To sum this section up, if Wolf suddenly loves Alex, there should be a backstory to it. If he still hates Alex, you need to explain why.

 _K-Unit (Snake)_

In fics, Snake is the medic for some unknown reason. Unfortunately, it's a fact that's been used by nearly _everyone,_ so if anyone tried changing it now, chaos would reign. So let's just focus on Snake the medic, shall we?

Let's just start with the fact that a field medic isn't the same thing as a doctor. A field medic can deal with _temporary_ problems, such as stopping the bleeding of a bullet wound. They aren't trained to prescribe medicine or be a psychologist.

Snake was the only soldier in K-Unit to _seem_ a bit nice to Alex, so that classifies him as a mother hen, correct?

No. Not the case, though if you wish to write him as a mother hen, you can. As of right now, I'm encouraging you to break the stereotype that is associated with Snake. He wasn't seen much in _Stormbreaker,_ so you can write him however you want to.

 _Eagle_

For some reason, Eagle is _always_ immature, excitable, and innocent. Why?

Again, it's almost like it's too late to change this stereotype because it would cause confusion, but seriously. Eagle doesn't have to be happy and excitable _all_ the time.

Haha, you might be saying, "You hypocrite! You wrote Eagle that way in _Operation Zeta_ and _AWOL!"_

Well, I can't deny it. I did. But that was before I felt like stabbing myself in the eye every time I read a fic and went, "hold on – I feel like I already read this a couple hundred times".

However, instead of writing Eagle like how he was written countless times before, I decided to add more depth to his character. I put little things he did when he was nervous and basically more, hoping to make him unique. I'm not sure if I succeeded, seeing as you guys are the judges here.

So the bottom line is to make Eagle (and Snake) your own characters.

 _Unknown, Aggressive, Easily Provoked Fourth Member of K-Unit_

What is up with this? Honestly, just because Alex is young and talented does _not_ mean everyone will hate him instantly.

Soldiers are supposed to be restrained. They follow orders without questions. Their job is to do or die.

If the Sergeant/higher ups decide to make them work together, they would. The most the fourth K-Unit member would do is glare or maybe pull stupid tricks (like what Wolf did in _Stormbreaker)._ I doubt he would beat up Alex.

I mean, _sure,_ you can do this if you want to, but again, this is a highly elite soldier. Well trained, going through psychological evaluations or whatever they're called. There's really no reason for the guy to be beating up Alex.

And that brings up the topic of Alex again. Do you honestly think Alex is going to just sit around, letting the guy beat him up? Come on – Alex has faced more than one enemy before, and he survived. Not to mention that he's a smart one. Alex would figure out how to use the fourth member's strengths against him.

 _Ben Daniels_

Everyone loves this guy for no apparent reason. He's often portrayed as a father figure, a brotherly figure, or a lover. Uh, why?

It might have something to do with _Snakehead_ , when he recognizes Alex through all the makeup and spy shit.

Anyway, Ben doesn't have to be familiar with Alex in your stories. Or he can be, if you want. This one is more of a rant because literally, I feel as if everything I read is the same. Well, not identical, but close enough.

I mean, I do love reading about those touching moments when Ben's all like, " _Alex! I'll protect you!"_ , but it would be refreshing to maybe read about _how_ they got there, yes?

* * *

Well, that sums it up. I don't think this was very helpful. It was more of just a rant and a plead for originality.

As always, questions and comments are welcome.

-Alice (for behind the scenes, follow me on twitter at dalekchung)


End file.
